Our guide to film series and special screenings happening this weekend and in the week ahead. All our movie reviews are at nytimes.com/reviews/movies.
THE FUTURE OF FILM IS FEMALE, PART 2 at the Museum of Modern Art (through Feb. 21). This sequel survey of female filmmakers — a follow-up to one in the summer — brings together recent work by women working behind the camera, including Nia DaCosta’s “Little Woods” (screening on Friday), shown at last year’s Tribeca Film Festival and starring Tessa Thompson and Lily James as desperate sisters in a North Dakota fracking town, and Josephine Decker’s “Madeline’s Madeline” (on Sunday and Tuesday), an experimental and aggressively subjective portrait of adolescence. If the film “is sometimes unconvincing and frequently unnerving,” A. O. Scott wrote in The New York Times, “it is never uninteresting.”
‘I AM CUBA’ at Film Forum (Feb. 15-21). First shown in 1964, this Soviet-Cuban agitprop spectacle, directed by Mikhail Kalatozov (“The Cranes Are Flying”), celebrates the ostensible glories of Castro’s revolution. Employing a collective protagonist, the film mirrors its ideas about the masses in its structure: It moves from one character to another to illustrate life in Cuba under Fulgencio Batista, capturing the political awakenings of men who become full-throated soldiers for the rebel forces. As with many Soviet films of the 1920s, a central influence for Kalatozov, “I Am Cuba” requires viewers to swallow a deluge of ham-handed and frequently troubling propaganda as the price for its formal brilliance. But the director’s impossible camera moves look especially impressive in this restoration.
JONAS MEKAS’S ‘WALDEN: DIARIES, NOTES AND SKETCHES’ at Light Industry (Feb. 16, 7 p.m.). The microcinema Light Industry honors the writer, filmmaker and experimental-cinema godfather Jonas Mekas, who died last month at 96, with this 16-millimeter screening of an extraordinary diary film. Compiling footage that Mekas shot with a Bolex camera from 1965 to 1969, “Walden” is at once a time capsule, a poetic treatise on the changing seasons in New York and a candid chronicle of major figures in that decade’s avant-garde scene. Mekas seems as delighted with the wedding of P. Adams Sitney and a visit to the filmmaker Stan Brakhage’s family as he is with the fantastic color swirl of a circus show or a performance by the Velvet Underground. Doors open for this free screening at 6:30 p.m. Be warned that getting a seat at Light Industry can be a cutthroat affair, and B.Y.O. lumbar support.
PROGRAMMERS’ NOTEBOOK: ON LOVE at BAM Rose Cinemas (Feb. 14-21) and VALENTINE’S DAY MASSACRE 2019 at Anthology Film Archives (Feb. 14-21). Two straggler series in the Valentine’s Day repertory cinema sweepstakes both construe love more broadly than simple romance. At BAM, Yasujiro Ozu and John Cassavetes explore the difficulties of parental and sibling relationships, while Rainer Werner Fassbinder’s 1974 “Ali: Fear Eats the Soul” (showing on Tuesday) reworks Douglas Sirk’s “All That Heaven Allows,” imagining a forbidden bond between a Moroccan man (El Hedi ben Salem) and a much older West German widow (Brigitte Mira). Anthology adds two Paul Thomas Anderson movies, “Punch-Drunk Love” (on Saturday, Sunday and Thursday) and “Phantom Thread” (on Saturday and Sunday, and separately at BAM on Thursday), to its annual “massacre” docket, which once again features films by Albert Brooks, Elaine May, Maurice Pialat and Andrzej Zulawski.
‘WAR AND PEACE’ at the Film Society of Lincoln Center (Feb. 15-21). The space and arms races between the United States and the Soviet Union get most of the attention, but the Russian filmmaker Sergei Bondarchuk’s 1968 Tolstoy adaptation represents a landmark in the Cold War film race. To say the movie pulls out all the stops is severely understating the matter. Designed to beat the cinematic epics of the 1960s at their own game, the film contains enough battlefield extras to populate a Baltic city, a duel to rival “Barry Lyndon” (before “Barry Lyndon”), snowfall that upstages “Doctor Zhivago,” a ballroom sequence that makes “The Leopard” look cheap — and that’s just in the first three hours. Given that the film runs longer than seven, the stun factor is relentless. The Film Society will screen the movie in four parts; a ticket package is available.